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Aesthetic response to color combinations: preference, harmony, and similarity.

Schloss KB, Palmer SE - Atten Percept Psychophys (2011)

Bottom Line: For example, some claim that harmony increases with hue similarity, whereas others claim that it decreases.Although pairs with highly contrastive hues are generally judged to be neither preferable nor harmonious, figural color preference ratings increase as hue contrast with the background increases.The present results thus refine and clarify some of the best-known and most contentious claims of color theorists.

View Article: PubMed Central - PubMed

Affiliation: University of California, Berkeley, CA 94720-1650, USA. kschloss@berkeley.edu

ABSTRACT
Previous studies of preference for and harmony of color combinations have produced confusing results. For example, some claim that harmony increases with hue similarity, whereas others claim that it decreases. We argue that such confusions are resolved by distinguishing among three types of judgments about color pairs: (1) preference for the pair as a whole, (2) harmony of the pair as a whole, and (3) preference for its figural color when viewed against its colored background. Empirical support for this distinction shows that pair preference and harmony both increase as hue similarity increases, but preference relies more strongly on component color preference and lightness contrast. Although pairs with highly contrastive hues are generally judged to be neither preferable nor harmonious, figural color preference ratings increase as hue contrast with the background increases. The present results thus refine and clarify some of the best-known and most contentious claims of color theorists.

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Preference for figural cuts (x-axis) on different background cuts (separate lines). Data points for the saturated figure cut (open symbols) are plotted separately at the same x-axis point as the muted colors because they share similar lightness levels, but they are slightly offset for clarity. Error bars standard errors of the means (SEM)
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Fig13: Preference for figural cuts (x-axis) on different background cuts (separate lines). Data points for the saturated figure cut (open symbols) are plotted separately at the same x-axis point as the muted colors because they share similar lightness levels, but they are slightly offset for clarity. Error bars standard errors of the means (SEM)

Mentions: An analysis of the effects of cuts on figural color preference showed a main effect of figural cut [F(3, 141) = 8.16, p < .001], ground cut [F(3, 141) = 8.77, p < .001], and a strong interaction between them [F(9, 423) = 20.84, p < .001]. As shown in Fig. 13, saturated figures are generally most preferred, colors on saturated grounds are generally least preferred, light figures are more preferred on dark backgrounds, dark figures are more preferred on light backgrounds, and colors are moderately preferred on muted backgrounds (see Supplementary Material Fig. S7 for supporting statistics of all pairwise comparisons).Fig. 13


Aesthetic response to color combinations: preference, harmony, and similarity.

Schloss KB, Palmer SE - Atten Percept Psychophys (2011)

Preference for figural cuts (x-axis) on different background cuts (separate lines). Data points for the saturated figure cut (open symbols) are plotted separately at the same x-axis point as the muted colors because they share similar lightness levels, but they are slightly offset for clarity. Error bars standard errors of the means (SEM)
© Copyright Policy
Related In: Results  -  Collection

Show All Figures
getmorefigures.php?uid=PMC3037488&req=5

Fig13: Preference for figural cuts (x-axis) on different background cuts (separate lines). Data points for the saturated figure cut (open symbols) are plotted separately at the same x-axis point as the muted colors because they share similar lightness levels, but they are slightly offset for clarity. Error bars standard errors of the means (SEM)
Mentions: An analysis of the effects of cuts on figural color preference showed a main effect of figural cut [F(3, 141) = 8.16, p < .001], ground cut [F(3, 141) = 8.77, p < .001], and a strong interaction between them [F(9, 423) = 20.84, p < .001]. As shown in Fig. 13, saturated figures are generally most preferred, colors on saturated grounds are generally least preferred, light figures are more preferred on dark backgrounds, dark figures are more preferred on light backgrounds, and colors are moderately preferred on muted backgrounds (see Supplementary Material Fig. S7 for supporting statistics of all pairwise comparisons).Fig. 13

Bottom Line: For example, some claim that harmony increases with hue similarity, whereas others claim that it decreases.Although pairs with highly contrastive hues are generally judged to be neither preferable nor harmonious, figural color preference ratings increase as hue contrast with the background increases.The present results thus refine and clarify some of the best-known and most contentious claims of color theorists.

View Article: PubMed Central - PubMed

Affiliation: University of California, Berkeley, CA 94720-1650, USA. kschloss@berkeley.edu

ABSTRACT
Previous studies of preference for and harmony of color combinations have produced confusing results. For example, some claim that harmony increases with hue similarity, whereas others claim that it decreases. We argue that such confusions are resolved by distinguishing among three types of judgments about color pairs: (1) preference for the pair as a whole, (2) harmony of the pair as a whole, and (3) preference for its figural color when viewed against its colored background. Empirical support for this distinction shows that pair preference and harmony both increase as hue similarity increases, but preference relies more strongly on component color preference and lightness contrast. Although pairs with highly contrastive hues are generally judged to be neither preferable nor harmonious, figural color preference ratings increase as hue contrast with the background increases. The present results thus refine and clarify some of the best-known and most contentious claims of color theorists.

Show MeSH
Related in: MedlinePlus